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‘LIBRARY 


1M. KNOEDLER & CO; 


556-8 FIFTH AVE. 
NEW YORK 


a. ete s i 


edly and without | 
Hifcnies of artists inva 


1 ces paid follow; 

Garda Fach en Lisiere de 
is iene s +. $4,150 

97°27; t; O. Barnet 


SUNS MEE WATS sb elas os aos: 6,100 
d*un, “iad wiiae " Rnoedler 


ae Ip a ee ee ee a > 


ray 5 W. a 


“The Bathers,” Diaz: W. py teed area tee . 2:900 
acta rcsi, in the Woods,” Die Knoedler 


PAREN) Reis eicie act Sal ian Lohse Sais oi eurd ea 3,600 
|| “Vaches se ae dans une Mare,” 
a Dupre; Knoedler SOG RE Vleig sca cic vo aes 5,200 
| ‘Le Vieux Chene,’’ Dupre: Knoedler & Co... 7,100 
is He as Ghene’,”” Dupre; J. 

piey 


Ce SO a es Sn eee eer eer ery 


ti chal Aas eat rel ees arse NT 8 AGO 
e eary ayfarers’” » Millet 3 
Senator W. aa aad re ti eee Biba claire 


a ; “Corot: om KG. ‘Billings. : 112371 


i ee A i aC i ce a aes es 4 


| eee Dake abs, wie kite Ww ude PANG eae es x ea ve bse 28,800 


Mee Garden Bie bic 


, Art property and antiques from the} 
‘collection of a private collector, sold at} 
|\the American Art Galleries, with a fair 


|attendance, yesterday afternoon realized 
on 185 numbers of the catalogue $5,835, 

/making a total for two sessions of $13,-| 
024. A carved ivory tankard, Italian, of 
the sixteenth century, brought the top! 
figure of the session, $485. A. B. Maclay | 
| bought it, | 

Mary Garden, present at the sale, made | 
'the record number of purchases, 
secured nineteen of the catalogue. ane! 
spent: $512. 

An elaborate repousse silver beneties | 
of the early sixteenth: century, bought.; 
| by W._E, Benjanine, brought $205. A} 
copy, in. bronze} of }Michael “Angelo’s} 
Captive, by Angelo: del Nero, sold to Gut- 
zum Borglurn, the sculptor, for $90: 

AS at the'preceding day's auction, the 
prices were, if anything, very mediocre. 


BIDDERS PAY$255,750 
FOR 2 PAINTINGS 


C. K. G. Billings a Prominent 
Purchaser at the Auction of the 
H. S. Henry Collection. 


Sa 


$53,100 FOR ONE BY MILLET 


‘Going to Work— Dawn. of Day” 
Fetches the Highest Price—Corot’s 
“Lake Nemi” for $23,100. 


———— 


The collection of twenty-one pictures of 
the Barbizon and other artists, belonging 
| to the estate of the late H. S. Henry of 
j Philadelphia,,; was sold last night under 
the auspices of the American Art Gai- 
leries at Mendelssohn Hall, and brought 
$255,750. Following is. a list of the piet- 


ures, artists, buyers, and prices: 
| ‘‘ Paysanne Gardant sa Vache en Lisiare 
de Bois,’’ Corot—Arthur Lehman, $4,150; 


| Miller's “Going to Work,” which brought $53,100 last mght at the 
gale of the Henry collection. 


| Millionaire Billings Pays $97,700 for Four oe, 
‘|. .Mary Garden Purchases Antiques. 


“Environs de  Sévres,’’ Corot—Bernet, 
Twenty-one pictures recently acquired, agent, $6,100; “Lisiagre Boisée d'un 


Vsold at Mendelssohn Hall last night,| |C. K. G. Billings, the horseman, paid DMccnr Coret_G WG Hillene gos 
\ brought $255,750. The attendance was} $23,600 for Daubigny’s “La Saulaie,” a 20: Lake Nemi.” Corot_C. K. G. Bill- 
the largest that has attended a sale im} record price in this city, for an example 


ings, $28,100; ‘‘ The Peay calidad 
i ‘ / 3 é t, $4,800; ¢ e ver 
of years. The} of this painter’s work. W, W. Seaman, agent, $4, ; 
il es: agai eran’ i He secured Troyon’s ‘‘La Charette de 


by the late H. S. Henry, of Philadelphia,| Billings a Heavy Buyer. tang,’ Corot—Knoedler & Co., $5,500; 
b Marne,” Daubigny—Knoedler & Co., $14,- 
| sale was conducted by Thomas E. Kirbys| a oit. “toy $28,800, Corot’s “Lake Nemi”| 


600; ** La Saulaie,”” Daubigny—C. K, G. 


|of thé American Art Association. It) for $93,100, and the same painter's fae Billings, | $23,600; “ Le Frondeur,” | De- 
|was redolent in animated bidding andi Vieux de Briques” for $22,200. re Nish tw a Po Wee sevens Ps Foy 
in | A erayon drawing, sketchy, nantes Bathers, Biota MCR) Bye ee on) 
| close competition. | by Millet, “The Weary Wayfarers,” said! The Glade in the Woods, OA AM Ne a 
| The highest price paid was $93,100, to Senator W. A. Clark for $7,100. The ee sj A ema edt 53.6008 « Wathen 
given by the art firm of Scott & Fowles ee seus wld Ress ie eb ei eed) I aes Ay et 5 ane Can ineden 23 | 
Millet's “Going to Work,’ which Mr. ak, while his y ene vous pré—Knoedler & Co., $5,200; “Le Vieux | 

ied i e000) Phe = buyers) were, respectively, Chene,”’ Dupré—Knoedler & Coa.,, ree | 


} Henry, who died last June, secured for) Knoedier & Co, and J. A. Ripley. | * Silvery Moonlight,’’ Dupré—J. A. Rip-~j 
$50,000 at the John T. Martin sale. As Decamp’s ‘Le Frondeur,” much praisea’| ley, $8,300; Miniatare. Eandseape,” 


before the sale, bought by Scott & Fowles, | inte fice 1,600; “* The 
4 speculation it was assuredly a on his brought $12,100; and the “River Marne” Peele abe ie blpeey Ra, Williams, 
| He made more than six per cent on hi8)) went to Knoedler & Co. for $14,600. $13,300:. *Goine to Work-~Dawn of Day,’ 


} investment. Mr. Henry collected these pictures while} Millet—Seott & Fowles, $53,100; “The 


, 
"0 5 very ill, shortly before his death. — It was | | We; > Wayfarers,” Millet—Gen; William 
The picture was started at ae i said along the avenue that this usual good, | near $7,100: “The Bursting Shell,” 
| rose’ to $49,000 by $1,000 bids, where taste and speculative ability had been | Schreyer—Knoedler & Co., $7,200; “La 
stopped for a time while the erowd ini} much hurt by this facet, and that he se-, | Charrette de Foin,’’ Troyon—C..K. G. 
| 


the hall held its breath, and then con* Billings, $28,800. 


tinued, to the ‘selling price by offers | of; 
S10) and S$?00 


a ake, “a ihe ininue ae y 
htings and one pastel drawing which 


lection of the late H. S. Henry of Phila- 


. American Art Association, for the: sum 
| of $255,750. Mendelssohn Hall was filled, 
ground floor and balcony, and some in- 
terested persons stood throughout the 
sale, so great was the interest, both 
among those who proved successful 
bidders and the unsuccesful ones, as well 
ee among followers of art sales. who 
could not. or.did not care to enter ‘the 
_competition. yen those who objected 
Fé. the characterization of this collection 


willing in advance to record it as one 
“of. fine pictures, and when the whole 
sold at a figure which represented | 
|an average price of more than $12,000, 


een to Teoh their approval of Mr. 
sound and pane 

y happens, if 

| “happened ae a great ‘pale: before last night, 
is city, that a collection put up at 

_ auction ‘is sufficiently rich to permit the 
- offering of a good Corot as the first canvas. | 
But last evening Soa FI Pe inting of a 
nt woman watching her cow near 


| the border of a wood was the first offering, | 


| and it was started at a bid of $1,000, falling 
| at'$4,150. And if any of the curious ques- 
| tion the knowledge of the auction house 
| to-which Mr. Hen 
\ lection to be confided let them note the 
| all but continuously progressive figures, 
| fetched by the succeeding Corots, which 
| went respectively at $6,100, $5,500, $22,200, 
| and $23,100. 
| There was good stiff bidding for “The 
Old Brick Bridge” at Arleux-Palleux, 
| which fell at-$22,200.after a starting figure 
| of:$10)000. and advances sometimes of $100 
"and sometimes of $500. The same’ painter’s 
. “Lake Nemi” went to the purchaser at the 
‘highest Corot figure of the’ evening, Mr, 
C. .G. Billmgs. 
| 6 monetary sequence was more 
| pronounced in the case of the Daubignys, 
l which went respectively. at $4,300, $14,600 
band $28,600. The canvas which fetched 
‘this last figure, “Ia Saulaie,” evoked the 
| hottest competition up to that point of 
| the “evening and: the auctioneer~ had 
“hardly time to call the quickly accelerat- 
ing bids, The canvas fell to Mr. Billings. 
This figure was said by several followers 
of the art sales to mark the record for the 
hpi ublic sale of Daubignys in this city.) 
he highest price recorded in London | 
| féra Daubigny within the last two years| 
| is about $5,000. 
|. The greatest popular interest of course | 
hinged upon the Millet, “Going to Work— 
\Dawn of Day,” for which Mr. Henry 
}paid $50,000 in this city last April at the| 
sale of the John T. Martin ‘collection., 
‘Bets had’ been. made that this canvas 
would not bring the sum Mr. Henry} 
aid for it, but if was no surprise to the’ 
ollowers of sales to see the canvas start 
; at $25,000, jump to $30,000, $31,000 and) 
$35, 000, go on by $1,000 bids’ to $40,000, 
ail in less than one minute, and on. again | 
in less than another minute to $50,500, | 
falling within three minutes. of its offer-| 
ings at $53,100... The buyers of record are| 
Seott:& Kowles. 

These dealers may have purchased. the 
painting for themselves. At the market 
rede and the rising..market for. these) 
paintings it would “well be worth the | 
firim’s while to purchase the canvas for) 
stock. Therapidity, however, with which 
netaale canvases find their way from the 

‘dealers who are buyers of record at these. 
seles to.certain private galleries is. such | 
that it would surprise few .of those who 
follow.itho stories of the. canvases if the) 
Millet turned up next in a collection far | 
from New York. 

Senator W. A. Clark, who was present, 
bought the Millet drawing, “The Weary | 
Wayfarers,” for $7,100. . 1 6 last canvas 
of the evening, Troyor’ s ‘La Chatrette 
de Foin,” seemed :to instil the bidders 
with the feeling that it was indeed the 
last- chance at a Henry picture, and the 


med the second and last picture col-' 


‘deélphia were sold in Mendelssohn Hall 
; last evening by Thomas Bh. Kirby of the) 


‘as one of twenty-one masterpieces were | 


| even the tardy in appreciation were! 


indeed. it .eyver | 


wished his last col- | 


Ba rt 
co ne Dis 


me Work 0’ wn of” Dai ‘c 
a feet ae MG 


Rotate Pa ae es: 


Riad res 
at we Pus PAS a 


PE ST EES DOT ET AR 
HENRY PICTURES GO. 


jibe See none ty 


Sale Brings $225,000 in ee 
Hour. 


ieee paintings and one pastel draw- 
ing, the collection of the late H. S, Henry 
of Philadelphia, were sold at Mendelssohn: 
Hall last night for $225,750: Thomas E. 
Kirby*of the American Art Association 
directed the sale, and the twenty-one | 
‘pictures were sold in almost exactly one 
‘hour. 

The following is a list of the pictures | 
sold with the buyers’ names: — 


de Bois,” “Horr Arthur Lehman Aas eiee 50! 
hOze Environs de Sévres,” Corot; Otto Bur- ae 

Wh AEM a cee ay Oca ses ht te ty 6,100. 
'a—Lisitre  Boisée a’ “uth Btang,? “Corot: - 
Khoedler & Co Test cin ia Es Sag Sea AGS OLAS, SSS 559005 
'4—"Le Vieux Pont de Briques, *. Corot; : 

OG Bilitines mas ces oss wean ecetee Ss 22,20) | 


5—‘Lake Nemi,” Corot; C. K. G. Billings.. 2 j 
oF ane Pond,” ‘Daubigny; WW. Ww. Seaman, ae 


POG Fok Varennes ans Neuss Murowm aN ae te 4,300) 
we oehe River Marne, Wanbledee Knoed- 
PARLE Ag OE) BAN abe vinta: haa RN See Peay 14,600) 
'8—" vet Saulaie,” Daubigny; ©. K..G. Bil- | 

Tesi rae a nen ee ia SOE 23,600 
9—" Te Frondeur,” Decamps; Scott & | 
OWLS Wotchy Salakstents eas cei Vai ee mk 12,100) 
.10—"The Bathers,” Diaz: W. Stursbete 2,900 
(l1i—“The Glade in’ the Woods,” Diaz; 
Mr Rinoedlerde Goran eis vi o., ar ne Rein ees 8,900 | 
)12—“The Sultan’s. Daughter," Diaz; Otto h 
i BUT HCE Pe NM tetany ose alys soc fee ae ok 3,600 
‘1s—"Vaches se Désaltérant dans une 
® Mare,” Dupré; Knoedler & Co.....).... 5,200 
and Le. Vieux Chéne,” Dupré; Knoedler 
UN Nahiciv auth nd coh REESE Oe ied 9 oa 7,100 
15—"Silvery OBER ET; Le Chéne,” Du- 
IE Ee. ds SAS RAPIEV op ics ceo kee lbties aah ae 3,300 
16—Miniature Landscape,: Jacque: Cart 
GTS ara SV eee, Oh u iy eeay iy erst 1,600 
i7-—"The Shepherdess,” Jacque; B. P. : 
WATT ATS A iB ee cc ote Beene ald 13,300 
18—** Beate Work—Dawn (of Day,” ; 
COLE Ge APOWI]ESs separ can 53,100 
ig-"'The Bs ‘Wayfarers” (pastel), 
Millets We Alaris. oy eke 100 
20—"The: anne Shell, ” Schreyer; Knoed- 
PER Peas CO Chala ecssos es MERRIE Der aEE St 7,200 
21—"Iia Charrette de Foin,” Troyon: C.K. 
Gs Bittiganee gar aes cove es ae Ge eee 28,800 
Totaliess cca BARN thas vaste tia Pama $255,750 


[diguy’s “La Saulaie” 4 


for $5, 200, 
: buyers were: 


‘de Bois,” Corot, $4,150, A 
, Etang,”’ Corot, $5,500, 


1 823,100, C.K. G. 


| ‘River Marne,’ Puiciean : 
plers ‘le Frondeur,"’ ( 

| Scott & Fowles:” “Tne: 
| 82,900, W. Stursburg; | 


| Sultan's Daughter,”  D 
| Burhet, agent: “Le Vieux C 


Chehe,” ‘Dupre, $3,300, J. A. Ripley. 


gor 

this” canvas hav 
last April in th 
hall for $50,000. It. 
bought before his 

The renown of th 
Mendelssohn Hall Et 
{that has- attended | 
/recent years. The f 
was Bons wh 


jiectors securing tt 
C. K. G, Billings an 
the former’ Senator, iw 


i; Bitines through the 


pee high record for. 
perk. in New. York. . 
j the sale was the pnice 
“Vachts se Desalte 
| the painting ‘being ¢ 
inches. It was bougat 


The other picture 35, 


“Paysanne Gardant, sa Vache a 


“Environs- de Sevres, a 
Burnet, agent; . “Lis 


| “he Vieux Pont de ae 
©. K. G. Billings; 


Daubigny, $4,300, W. Ww. 


Woods,” “Diaz, scoun 


$7,100, IXnoedler; “Silvery 


: Jacque’s ‘Miniature Landscap: whee 
is only 4% inches by 8%. inch, h 
$1,600, Cari Glicksman being a 
“The same artist's “The Shepherdess,” was 
bought by B. P. Williams for $1,300; Mil- 
let's “The Weary Wayfarers,” a) pastel, 
; went to former Senator Clark for $7,100; 
_Schreyer’s eRe) Bursting Shell” went to 
{the Knoedlers for $7,200, and’ Troyon’ 
“La. Charrette de Foin” to @. Kk. G. Bil- 
lings for $28,800. | 


eh ee 


: ne S 
important é works, i 
were, also: ic | 


; na Prices 


Vache en eer | 
arannt ae Lehman, } 


‘Sevres, by Carot. Ber- 
‘un Btang, by & Carot 


“Nem, by Carot. : 
ea nd, 7 bY Daubigny. WV. W. Sea- 


ee'Marne, by Datbigny- 

Nee & Go vy Daublgny. ten ee 

- e Proadeur, 0: by Decamps. Scott & 
owes aera thers, by Diaz. WwW. Stur- 
al rhe Glade in the Woods, by Diaz. 


he Sultan's Daughter, by Diaz. 


ernet, agent, 
esalterant » dans une 
pone a Knoedler & Co., $5200, 


ea Ghene, by Dupre. Knoed. 
Nery Moontiehts ‘Le Chene,” by 

Dt Pap di Lape eet oee by Jacque. 
mt the she caged bers by Jacque. B. Be 
yet Pook Dewy, pits Day, by 


Mivlet, Bott & Br Waytarere Castel) by, 


Mil Meng yg a by ‘gere yer, . 
aor Chnsrelte de Foin, a a ae c. 
K de Billings, $28,800. 

aga t © bee Sl eee 


pes 


picture was s fied ae ne 000. Tt 
‘ose to $49,000 by $1000 bids, where it 
stopped for a time while the crowd in 
the hall held its breath, and then con- | 
inued to the selling price by offers of 
$100 and $200. 
Cy, K, G. Billings, the ‘horseman, paid 
$23,600 ‘for Daubigny’s “La Saulaie,” a} 
record price in this city for an enaeivle 
of this painter’s work. . | 
He bought Troyon’s “La pusretie de | 
oin” for $28,800, Corot’s “Lake Nemi” | 
or $23,100 and the same painter’s “La. | 
Vieux de Briques” for/$22,200. . : 
. crayon drawing, sketchy. unfinish- | 
hd, by Millet, “The Weary Wayfarers,” |: 
sold. to Senator Wy: A. Clark for $7100. |: 
he same figure was given for Dupre’s || 
The Old Oak,” while. his “Le Chene” }, 
brought $5800. The buyers were, re-| 
spectively, Knoedler & Co. and J. A, 
Ripley. a t 
Erbin s Ta’ Frondeur,” Hach prais- | 
before the sale, bought by Scott. &| 
rowles, brought $12,100, and the “River |) 
Viarne’’ went to Knoedler | x Co. aor 
14,600.. {i 
Titles of pictures, names of artists i 
and of PUrCnases) and. prices paid. fol- | 
Ow: j 
‘Paysanne. Gardant sa Vache en Lisiere 


de Bois,’? Corot; Arthur Lehman...... +». $4,150 
‘Environs. de Sevres,’ Corot; O. Barnet 
(agent) 


‘Lisiere isse | j fasig 
MOR Teb ree COs wea iadnnes nda olnilatn eels +- 6,900" 
‘Le Vieux Pont de Brigies," Corot; ‘C, ; 
TRG CBIR Sir ites na autos ttieca ere aie a deel giteas tee 22,200; 


‘Lake. Nemi,’’ Corot; ao K, ie Billings... 23,100, 
‘The Pond,’? Daubigny; Wi ‘W. Seaman 

(ABOBEN A weve lees Malg crane nies cee nie cides vata sy vere 4,300: 
ee River ‘Marne,’ Daubigny; Knoedier 


a Savlaie,” ‘Daubiany; (C.K. G! Bai 


i a ec i ie i a a ad 


is STiromaeur, hs “‘Decamps: Scott & Fowles. i 00 | { 


a RST TTT FT se TTT 


| 


‘The Bathers,”’ Diaz; W. Stursberg........ 2900 
The Glade in the Woods,” Diaz; Knoed- q 
PVE) A ocd cal De 8 Sl tT Ze aa 6,900 } 
“The: Sultan’s ‘Daughter,’ Diaz; O. Bornet 
AARON) 220 alas een anios caesieh aapaee ieee wes 8,600 | 
‘Vaches se Desalterant Rae une Mare, 
Dupré; Knoedler & Co...,.. EMD Io a6. ies os 5, 200 
4 “Vieux Chene,’* ‘Dupre; ‘Knoedier & : 
mi Main $6 Mens aiete PRU WSs sieve lei Vy LOD 
Msiivery” Moontight—Le’ Chene," *" Dupre: di 
POViicc wa Macatet Gee enre basic saars o's ws +300 
Miniature Landscape,’ Jacque; Cari 
GIUIGKSMIADY Jepocie ed oss Ma noe hated yeas 1,606 
“The Shepherdess, “ Wacque; B. P. \vVill- } 
[ATH Sewer died Aa Pe RE Samachar es denies wd £13,3002 
**Golng to Work—Dawn of Day,’’ Millet: 
SCGOte ee OW LOR ac Wane auiatsciecs vila cae ee siieie ks 53,100 | 
“Phe Weary Wayfarers” image!) Millet; ; 
Senator Win A OMeIR DG emery lice ey Lai, 7,100 
“The palbeeod Shell, ” Schr ever; Knoedler i 
PLO. harnias cond Hea etal PERRI OT oie aie © inn chutes 7,200 


“Ta Charrette de Poin,” Proyon: Cc. x) } 
es BUUIRE eridae | nas | 


ats, 7 THE AMERICAN ART GALLERIES 2 


MADISON SQUARE SOUTH 


NEW YORK 


Pe 


Ae ene 


he 
a. ee NM, 


= a Oe memes ye 4 
hee 6 ‘ ae yh . es 

i fag Oe Pe a Leer, aoe is ot 
Lh ee 
aire Saxe : Lo Nat ke odtieat ? 


ON VIEW DAY AND EVENING 
AT THE AMERICAN ART GALLERIES 


From Fripay, JANUARY 28TH, UNTIL THE MORNING OF 


THE Day oF SALE, INCLUSIVE 


TWENTY-ONE MASTERPIECES 


BELONGING TO THE ESTATE OF THE WELL- 
KNowN PHILADELPHIA AMATEUR, THE LATE 


MR. H. S. HENRY 


UNRESTRICTED PUBLIC SALE BY ORDER OF HIS EXECUTORS 


MRS. HENRY 
AND 
GIRARD TRUST COMPANY, or PHILADELPHIA 


AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 
ON FRIDAY EVENING, FEBRUARY 4rtu, 1910 


BEGINNING AT 8.30 O’CLOCK 


IES — _ 


A 


y 


? . Lae aye «, (ae 


3 = => = pee TE A ey ay ep See en eee 
i = i | aay ¥ ? } es t [A eS 
ek USE Be Goi A a 


De Luxe Illustrated Catalogue 


OF 


TWENTY-ONE MASTERPIECES 


COLLECTED BY THE LATE 


Mk. H. 8S. HENRY 


OF PHILADELPHIA 


TO BE SOLD AT UNRESTRICTED PUBLIC 
SALE BY ORDER OF HIS EXECUTORS 


MRS. HENRY 
AND 
GIRARD TRUST COMPANY, or PHILADELPHIA 


ON FRIDAY EVENING, FEBRUARY 4rs 
AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 


PAINTINGS DESCRIBED BY 
MR. CHARLES H. CAFFIN 


THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1910 


COMPILED AND ARRANGED BY 


MR. THOMAS E. KIRBY Ae 


a 


PHOTOGRAPHS BY __ tem 


LAWRENCE X. CHAMPEAUX, NEW ‘YORK 


PHOTOGRAVURES BY Ay 4 ah 


S A. W. ELSON & CO., BOSTON 


PRINTING AND BINDING BY 


‘THE LENT & GRAFF COMPANY, NEW YORK 


es COPYRIGHT, 1910, BY 
ah ~ . . “THE AMERICAN ART ASSOCIATION 
NEW YORK 


ALL RIGHTS RESERVED 


a 
= 
. 


+a 


2 THE ‘PAINTERS REPRESENTED 


> 


[ICAL NOTES AND APPRECIATIONS 


JEAN BAPTISTE CAMILLE COROT 


1796-1875 


Was there ever a happier man than Pére Corot, or one better 
loved by his friends? Happiness and lovableness breathe from his 
pictures. He had inherited the wholesome hardiness of the middle- 
class French character, its orderliness and balance, and its shrewd, 
genial, sprightly cheerfulness. His father, a hair-dresser in the 
Rue du Bac, number 37, married a milliner’s assistant, who worked 
at number 1, near the Pont Royal. Two years after the birth of 
Camille, Madame Corot took over the millinery business, and with 
such success that under Napoleon I. Corot became court milliner. 

_ He sent his son to the high school at Rouen, and afterwards appren- 
____ticed him to a linen-draper’s establishment. When Camille was 
aa twenty-three his father yielded to his desire to be an artist, and 
promised him a yearly allowance of twelve hundred francs, which he 
am doubled twenty-three years later, when his son received the cross of 
‘Legion of Honor, for, as he said, ““Camille seems to have talent after all.” 
; Corot entered the studio of Victor Bertin, and for five years pursued the ortho- 
- dox course of classic training, afterwards visiting Rome and Naples in the company 
fe of his master. There he remained two and a half years, returning in 1827 to exhibit 
at the Salon. Other visits to Italy were made in 1835 and 1845; and it was only 
___ after this third visit that his eyes were opened to the charm of French landscape. 
__ He was nearly forty years old when he set himself to become the new Corot whom the 
world now knows and delights in, and ten years were passed in maturing his new 

_ ideals. ‘Troyon was forty-five when he found himself, and had only ten years left 
in which to do the real work of his life; but Corot, although fifty when his art was 
finally ripened, had yet another twenty-five years in which to gather the harvest. 

He had discovered the secret of rendering air and light. The ‘Christ Upon the 
Mount of Olives,” painted in 1844, and now in the Museum of Langres, is the first pic- 
ture which seems like a convert’s confession of faith. One might pass the Christ over 
unobserved, but the star shining far away, the transparent clearness of the night-sky, 
the light clouds, and the mysterious shadows gliding swiftly over the ground—these 
have no more to do with the false, and already announce the true Corot. In the most 
characteristic works of his best period he represents the antipodes of his friend Rous- 
seau. Rousseau was dispassionately objective in his point of view, a master of form 
and construction, rich in color, while Corot, weaker in drawing, saw objects in masses, 
narrowed the range of his palette, delighting particularly in dark olive-greens and 
pure greys, and vied nature as a medium for the expression of his own poet-dreams: the 
one magnificently powerful, the other infinitely tender. “Rousseau is an eagle,” Corot 
himself said, “while I am a lark that pulses forth little songs in my grey clouds.” 

His father had given him, in 1817, a little house at Ville d’Avray, and here or at 
Barbizon he spent his time when he was not at Paris. How he felt toward nature (for 


Jules Dupré, in Rbich he describes a a ofa pgm painter: “One gets up e ve 

at three in the morning, before the sun; one goes and sits at the foot of a tree; one PS 
watches and waits. One sees nothing much at first. Nature résembles awhitish can- 
vas on which are sketched scarcely the profiles of some masses ; everything is per-_ ol . 
fumed, and shines in the fresh breath of dawn. Bing! The sun grows bright, but has aan 
not yet torn asunder the veil behind which lie concealed the meadows, the 7 
hills of the horizon. The vapors of night still creep, like silvery flakes, eee 
numbed-green vegetation. Bing! Bing!—a first ray of sunlight—a s secon of 
sunlight—the little flowers seem to wake up joyously. They all have their lrop of 

dew which trembles—the chilly leaves are stirred with the breath of morning—in tl 

foliage the birds sing unseen—all the flowers seem to be saying their prayers. Loves 

on butterfly wings frolic over the meadow and make the tall plants wave—one sees 
nothing—everything is there—the landscape is entirely behind the veil of mist, which — 
mounts, mounts, sucked up by the sun, and, as it rises, reveals the river, plated with 
silver, the meadows, trees, cottages, the receding distance—one distinguishes at last 
everything that one divined at first.” 


How spontaneous a commentary upon his pike of early morning—nature in 
masses, fresh and fragrant, the “numbed-green” of the vegetation, the shiver of leaves” a a 
and the twinkling of flowers, the river plated with silver, and the sky ui with 
misty light! wm. 

In the same letter he describes the evening: “Nature drowses—the teedh air, 
ever, sighs among the leaves—the dew decks the velvety grass with pearls. The 
nymphs fly—hide themselves—and desire to be seen. Bing !—a star in the sky which — 
pricks its image on the pool. Charming star, whose brilliance is increased by the 
quivering of the water, thou watchest me—thou smilest to me with half-closed eye. 
Bing!—a second star appears in the water, a second eye opens. Be the harbingers = 
of welcome, fresh and charming stars! Bing! bing! bing!—three, six, twenty stars. ec i 
All the stars in the sky are keeping tryst in this happy pool. Everything darkens, = =—_— < 
the pool alone sparkles. There is a swarm of stars—all yields to illusion. The sun 
being gone to bed—the inner sun of the soul, the sun of art, awakes. Bon! there is my Tete 
picture done.” x igs 

And very literally his pictures were done in this way finns the last ue of big ae as 
life. Forty years of practice with the brush had rendered the actual record of the scene ae 
comparatively easy, and this he made in Paris, between which and nature he divided 
his affection. But the picture itself had been made during his periods of contemplation 
at Ville d’Avray or Barbizon. Suggestive, also, is his allusion in this letter to the 
nymphs, that hide themselves desiring to be seen. Corot, though foremost among the — 
men who gave the final quietus to classical landscape, was really more classic than the 
classicists. More ordinary minds, like Poussin’s, had been captivated by the forms of 
Italian landscape and the elegant pageantry of classic architecture, while the poetic 
spirit of Corot had found affinity with the indwelling genius of the scene. He could 
realize the Oreads, Dryads and Nereids sporting among the hills, groves and water- 
courses. They were the necessary accompaniment of the childlike glimpse of nature, 


the anthropomorphic view which is the child-man’s. Solitude is terrible; so also the 
intrusion of the actual. Like the ancients, he peopled nature with beings of his own 
creation: sweetly impersonal, responsive only to his own mood. 
To Corot life was one unbroken harmony. “Rien ne trouble sa fin, c’est le soir 
eal? @un beau jour.” His sister, with whom the old bachelor lived, died in the October of 
a 1874. On February 23d of the following year, when he had just completed his 
seventy-ninth year, he was heard to say as he lay in bed, drawing in the air with his 
fingers: “Mon Dieu, how beautiful that is—the most beautiful landscape I have ever 
seen!” On his deathbed his friends brought him the medal struck to commemorate his 
jubilee, and he said: “It makes me happy to know that one is so loved; I have had 
good parents and dear friends. I am thankful to God.” With these words he passed 
away—the sweetest poet-painter and the “tenderest soul of the nineteenth century.” 


=) 


CHARLES FRANCOIS DAUBIGNY 
1817-1878 


Charles Francois Daubigny, the youngest of the men now 
known as the Barbizon painters, was born in Paris in 1817. His 
father was a teacher of drawing, and his uncle and aunt were minia- 
ture painters of enough importance to have their work exhibited at 
the Salon. With strong inherited artistic tastes, pencils and paint 
naturally became the playthings of his youth, and long before he 
had reached his majority they were the means of his daily livelihood. 
He began his artistic work by ornamenting articles of household 
use. He afterwards learned the art of engraving and etching, and 
became an illustrator of books. In painting he was a pupil of 
Paul Delaroche. 

Defeated as a candidate for the Prix de Rome, not by compe- 
tition, but because, ignorant of the rules, he was absent on the day 
when the preparations began, he resolutely determined to save every 
sou he could spare from his daily needs, in order that he might, as soon as pos- 
sible, pay his own expenses to Rome. The story, as told by M. Henriet, is in substance 
4 as follows: Daubigny at this period of his youth shared his lodgings and his money 
NM with his friend Mignan, another art student. Both boys determined that they would 
i go to Italy, and hoarded their small savings for that purpose day by day, not in a 

common cash-box, which they could open in a moment of weakness with a knife, but in 
a built-up hole in the wall of their room, which nobody could plunder without the aid 
of a crowbar; they lived sparingly, kept no account of their deposits, but remained in 
a delightful uncertainty of the rate of their accumulation till, at the end of a year, in 
fear and trembling they broke open the wall and let out a tinkling rivulet of small 


and wanted to see them with his own eyes. 
Daubigny, more than any other man of the Barbizon School was a pa 
lightful, lovable pictures. He had a singular appreciation, not only of “ 


main of art, least of all as a theme for technical Asplew 


His early impressions of the country clung to him through life. His biographer, 

M. Henriet, says: “It is among the apple-orchards, in the pure air of the open coun- 
try, that he passed his earlier years and imbibed that love of the fields which becam ne 
the passion of his life.” And so in 1857, when he exhibited at the Salon of that year 
the picture which won for him the Cross of the Legion of Honor, it is interesting to te | 
note that the subject he had chosen was “Springtime,” and represents a peasant girl we 


laden with blossoms. The picture was bought by the Government, and is Ree 
Louvre. It is a charming work, executed with great delicacy and painstaking 
but wanting somewhat in that vigor of hasding and richness of color which 
tained in his later and riper works. 


: — 
But although Daubigny loved the orchards, the vineyards, and the fields, it ac a 
the beauties of the Oise and the Marne and the Seine which finally furnished him the — Ve 
subjects of so many lovely pictures during the later and best period of his life. His vie 
preparations for sketching were original and complete. He built a large boat which —__ 
he called “Le Bottin,” and it became at once his floating studio and his summer home. _ 
And what a charming studio it was! Albert Wolff says: “The boat used by Dau- 
bigny was arranged for long voyages; the cooking was done on board; there was a __ 
good wine-cellar; you drank deep and worked hard. The sketches accumulated, and 
when winter was come Daubigny returned to Paris provisioned with the booty of art __ 
and nature, the landscapes which, toward the close of his life, collectors and dealers = 
battled for.” 7" 


With this boat for his river home, how absolutely the usual annoyances which at- ie 
tend a painter’s work passed away! No longer now the tramp of miles to greet the 
fragrant, misty morn; no more the blazing heat of noon to interrupt his work; no 
splashing of a sudden shower to hurry him to shelter; but delightfully prétected in 
his boat, with every appliance and needed comfort at his hand, he could paint at 
will at morning, noon, or evening hour, until the gathering twilight closed the la- 
bors of the day. And so, with his son Karl, and sometimes his daughter, for com- 
panions, he went up and down the rivers of France, mooring his house-boat to the 
bank or anchoring it in midstream, wherever a lovely spot invited him to linger. He 
knew every bend in the river, every bush upon its banks, every slender tree lifting 


5° 


its foliage toward the summer sky, every deep pool with their reflections mirrored 
in its depths; and these he painted with such poetic fervor and such loving care that, 
beholding his picture, we forget the master, forget our own selves, and see only 
that which entranced the artist—Nature, idyllic, serene and robed in beauty. 

That Daubigny had his limitations is simply to say that he was mortal; but 
among modern landscape painters it is doubtful if there can be found a man whose 
pictures have delighted a more numerous, more varied, more enthusiastic and more 
cultivated body of admirers than this painter of the rivers of France. Careful in his 
choice of subject in the first place, he knew no limitations as to the hour of the day 
in which to paint it. To him it was quite enough that the scene was beautiful. In- 
deed, this dominant quality of beauty, united to truth of local color and stamped with 
his own personality, is one of the most recognizable characteristics of his works. Who 
has suggested with greater charm the soft springiness of the green sod to the tread 
of our feet? Who with greater realism the freshness of the air and the scent of the 
earth after a shower? Who with greater loveliness the banks of the Seine, with its 


slender trees and overhanging bushes reflected in the placid waters beneath? Who 


with greater solemnity the hush of the night, when the pale moon mounts the sky, 
and sheds over hill and stream its veiled, mysterious light? Ah, all this may not be 
great painting, but it goes straight to the heart. Of him Edmond About says: 
“The art of this illustrious master consists in choosing well a bit of country and 
painting it as it is, enclosing in its frame all the simple and naive poetry which it 
contains. No effects of studied light, no artificial and complicated composition, noth- 
ing which allures the eyes, surprises the mind, and crushes the littleness of man. 
No, it is the real, hospitable and familiar country, without display or disguise, in 


which one finds himself so well off, and in which one is wrong not to live longer when 


he is there, to which Daubigny transports me without jolting each time that I stop 
before one of his pictures.” 

And thus the French author puts in words what we have all felt to be abso- 
lutely true about Daubigny’s works. In them we find the most lovely scenes in 
nature presented with the frankness and directness of a child, but with the grasp and 
touch of a master. Yes, M. About is right. We do love to linger over Daubigny’s 
pictures. In addition to many other qualities; they possess this potent charm: they 
are restful, peaceful, refreshing; and after the fretful annoyances of the day, which 
come to us all, their influence is at once a song and a benediction. 

It is quite probable that other men of the Barbizon School at times were greater 
artists than he; they may have possessed a livelier poetic fancy; they may have 
displayed a nobler creative genius and wrought with a more intense dramatic power; 
they may have been better craftsmen and attained greater heights in the mere tech- 
nique of art; but none of them possessed Daubigny’s absorbing love of what was 
beautiful in nature for its own sake, or the exquisite sensibility and frankness with 
which he painted those familiar scenes which have so long delighted the lovers of the 
beautiful in nature, and filled their hearts with a sincere affection for the painter of 
“The Orchard,” “The River?” and “The Borders of the Sea.” 


Ne a ee ee aa 
aera i 1 = a 2 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 


It is a matter of record that the picture by which Decamps, 
the great Orientalist of his day, made his début in the Salon of 
1827 was a figure of a Turk, evolved from his inner consciousness. 
The artist had not yet visited the East, and his picture was simply 
an expression of the tendency of his thought and feeling. De- 
camps was a Parisian, born in 1803. He was sent as a boy into 
the country by his father, and allowed to run wild until it was time 
to send him to school, when he was brought back to Paris. He had 
developed what he himself called “the taste for daubing,” and was 
left to work out his own method of art without parental encourage- 
ment. Stumbling blindly toward the light, learning from the pic- 
tures he saw in shop windows and galleries what pictures were, he 
finally, at the age of twenty-four, produced the Turk which at- 

- tracted attention to him in the Salon. The subject and the method 
of the picture proved attractive to the public, and the young painter was encouraged 
to proceed. He had an ambition to paint history, and strove for the Prix de Rome 
in vain. It was his life-long regret that he could not become a great historical 
painter, and he often bitterly complained of that neglected childhood in which he 
had learned such lessons of freedom and contempt for restraint that he could never 
afterward school himself to the arduous study necessary for success in the lofty walk 
of art to which he aspired. The world was the gainer by what he considered his 
loss. <A brilliant intelligence, a fecund invention and a facile hand enabled Decamps 
to earn his living as a caricaturist while he was struggling for recognition as a 
painter. Some of his lithograph cartoons display a mordant and deadly satire equal 
to the written diatribes of Juvenal. Decamps’ restless spirit sent him on many wan- 
derings, and from a visit to Asia Minor he brought back the inspiration and material 
for the Oriental subjects, bathed in sunlight and glowing with slumberous color, 
which gave him a distinctive place among the masters of the day. In his greatest 
success his life was not happy. He had his studio and hunting lodge in Fontaine- 
bleau, and he divided his life between painting and hunting to dissipate his brood- — 
ings on his disappointment in life. He had few friends, though with Millet and . 
other artists of his circle he was on amicable terms. Medals and honors only deep- 
ened his disgust at his inability to create monumental masterpieces. Only his great 
mind preserved him from total misanthropy. One day in 1860 he rode into the 
forest with his favorite hounds to hunt. The baying of the dogs attracted the at- 
tention of a forester, and he found one of the greatest artists of the world thrown 
from his horse and helpless from an injury which proved mortal. 


J 
7 
* 


NARCISSE VIRGILE DIAZ DE LA PENA 
1807-1876 


Diaz—of Spanish descent—was third member of the Fontaine- 

bleau group. A Frenchman only by the accident of birth, he be- 
came one of the Fontainebleau men by the accident of acquaintance. 
At Sévres, where as a boy he was decorating pottery, he knew Jules 
Dupré, and it was probably through Dupré that he met Rousseau 
and virtually became his pupil. But before Diaz knew Fontainebleau 
or painted its landscape he had served his time in Bohemian Paris, 
’ painting small figure pictures under the influence of Correggio, 
Prud’hon and Delacroix. These fanciful little pictures of nudes, 
and of groups in rich costume, the subjects for which he got out of 
books and his own perfervid imagination, he executed with little 
labor and got for them little money. It is said that he sold them 
for five francs apiece, but the number of them was so large that even 
at that price he managed to live comfortably. 
But ese were the years of his groping in the dark. He was masterless, home- 
less, quite adrift. When he joined the Fontainebleau band and came under the sway 
of Rousseau’s serious personality, Diaz himself grew serious and took up landscape 
painting with an earnest spirit. He never forgot his early days of decoration; his 
Arabian Nights’ fancies never entirely left him. Even when he was painting his 
noblest landscapes he was often giving them a romantic interest by introducing 
small figures of bathers at a pool, figures of riders, huntsmen, woodsmen, gypsies. 
The landscape he did directly from nature, in the forest or on its outskirts, but the 
figures were figments of his brain, probably put in as an after-thought for mystery 
and color effect. The landscape hardly needed the added figures for mystery, for 
Diaz had a way of putting weirdness and romance in the light and air, in the quiet 
pools, in the trees themselves. With all their fascinating charm there was some- 
thing solemn and impressive in his wood interiors. Still, it cannot be said that his 
work suffered by the introduction of figures. They lent brightness, liveliness, ac- 
cent to the scene, and above all they were the high-pitched color notes of the com- 
position. Diaz had a color sense of his own which none of the masters who influ- 
enced him in art could eradicate. ‘There was a sobriety about Rousseau even in his 
highest chromatic flights; his color scheme was true, studied, exact in every respect. 
Diaz, on the contrary, was volatile, enthusiastic, capricious, and his work at times 
gives one the impression of abandon and improvisation. He knew the truth of 
nature, but he was no slave to it. Like Turner, he was for making a picture first of 
all, and if certain notes or tones were not in the scene he put them in. And who 
shall gainsay the wisdom of his course in doing so? A picture is not necessarily 
valuable for the amount of truth it conveys. Its first affair is to be a picture. 

But the popular impression that Diaz was the unrestrained happy-go-lucky, 
devil-may-care painter of the group is somewhat wide of the mark. That a painter 


has a fanciful spirit and easy execution does not necessarily argue a careless hand 
or a superficial eye. Watteau was just as serious in his mood as Michael Angelo; 
and Diaz, though he had not Dupré’s melancholy, or Rousseau’s great thoughtful- 
ness, was very far from knocking off his Fontainebleau landscapes with a dash and a 
laugh. He studied long and hard over his canvases, and the gayer-hued and more 
volatile they appeared the harder he had to study over them. Of course he was un- 
even in his work (every painter is so more or less), but one seldom finds him uninter- 
esting. His drawing was not faultless compared with Rousseau’s; but this compari- 
son—and it is always made—is hard upon poor Diaz. Rousseau’s drawing of land- 
scape has never been equalled, and if there were no Rousseau we should find no fault 
with Diaz. Besides, drawing means different things to different men. Diaz would 
not tolerate outline where he could use the color patch, and in that respect he was a 
true follower of Delacroix. It is his color patch that people talk about as his “un- 
certain drawing,” and they talk about it quite unconscious of the fact that Diaz 
meant it to be a patch, a tone, a value, and not a rim or a line. They often talk, 
too, of his “distorted lights,” just as though he did not design them so with full 
knowledge of the result they would produce. 

If we choose to run on in this vein, the light, the color, the trees, the skies, 
everything by Diaz—or, for that matter, by anyone else—could be written down as 
false to nature. But that is not recognizing painting as the convention that it is. 
The first and final question is always, “Has the painter made a picture?” And to 
that, in the case of Diaz, there can be but one answer. He made many of them, 
and most excellent ones into the bargain. His figure pieces are his slighter works, 
and are not the ones that gave him his fame. He lives by his Fontainebleau land- 
scapes. He is the third man in the great triad, and, though different in sentiment, 
mood and individuality from Rousseau or Dupré, he is not unworthy to be named 
with them as one of the great landscape painters of the last century. 

Diaz was more successful in a worldly way than either of his companions. His 
pictures sold readily and he received many honors. But he never forgot his less 
fortunate comrades. He bought their pictures, loaned them money, kept their heads 
above water, while ever proclaiming their merit. This was particularly true of 
Rousseau and Millet. He never let slip an opportunity for testifying to their ex- 
cellencies. In 1851 he was made Chevalier of the Legion of Honor, but Rousseau 
was overlooked. At a dinner given to the new officers, Diaz made a great commotion 
by rising on his wooden leg and loudly proclaiming the health of “Théodore Rous- 
seau, our master, who has been forgotten.” The incident not only shows his loyalty to 
his friend, but his life-long belief as an artist in the greatness of Rousseau. 


} 


——— <>) 


/ 


JULES DUPRE 


1812-1889 


It seems only yesterday that Jules Dupré died, and yet he and 
Rousseau were the moving spirits who started the Fontainebleau 
School far back in the 1830’s. He alone of the original group lived 
to see the work of the school appreciated—lived to see Rousseau 
acclaimed a prince and Millet crowned. He was born in the same 
year with Rousseau, met him early, and was his life-long friend and 
champion. They started painting together, and it is not possible 
now to determine who deserved the greater credit for the new move- 
ment. Suffice it to say that between them the naturalistic land- 
scape of modern French art was founded. 

Doubtless these life-long friends, by the interchange of ideas 
and the comparison of methods, influenced each other somewhat. 
At any rate there seems not a great deal of difference in their points 
of view, apart from the personal equation which neither of them 
Pesta or would relinquish. Dupré himself said that they used to go into the forest 
and saturate themselves with truth, and when they returned to the studio they squeezed 
the sponge. Yes; but it was a slightly different sponge that each squeezed. The in- 
dividualities of the men were not the same. Dupré had a melancholy strain about 
him, and all his life he was a somewhat lonely man. He was at his happiest when by 
himself with the storms of nature. He preferred nature in her sombre moods, and was 
forever picturing gathering clouds, sunbursts, dark shadows, swaying trees, wind- 
whipped waters and the silence after storm. This love of the dark side of nature ap- 
pears as a personal confession in almost all of his work. It was his individual bias 
which distinguished him from Rousseau, who was fond of the sun and its brilliant 
colors. Yet beneath the rough aspects of nature Dupré saw with Rousseau the ma- 
jestic strength, mass and harmony of the forest; saw the bulk and volume of the 
oaks, the great ledges of moss-covered rock, the sweeping lines of hills, the storm 
light, the voyaging clouds, the vast aérial envelope. His mental grasp of the 
scheme entire was not inferior to Rousseau’s, but perhaps he had not the latter’s 
patient energy and infinite capacity for labor. He threw off work with greater ease 
and was satisfied with a slighter result. But this only by comparison. As a matter 
of fact, he was a very strong painter of landscape and a superb painter of the sea. 

Dupré’s landscapes—the oaks of Fontainebleau under a deep blue sky with cumu- 
lus clouds, the outstretched plain of Barbizon, the grove with a white house and a 
pool of water—are quite as familiar as his marines. They are never lacking in a virile 
sense of body and bulk, and they are always pleasing in their air, light and color; 
howbeit the melancholy and the sombre view is there. He came at a time when the 
high register of impressionism was unknown, but his deep reds, russet browns, dark 
greens and cobalt blues are still profound color harmonies. Art changes like all 
things human; but the good art always remains good, the bad art always remains bad. 


worl if ke honest abe 

ee oe Joa ae 

« cerity of Carpaccio, are just as pertinent a this —— 
Daubigny and the Michelangelesque strength of Rousseau. 

poetry of nature’s dark moods. Cloud and shadow, wind a 

wings of his muse. He loved them deeply and painted them with a 

Throughout his long life he did not swerve from his early alle 

rise about him with different views, different interpretations 

methods, but with calm dignity he held his individual way. Good or , 

he sent forth he would have his own and bear a personal seal. Such work i is ney er 

likely to pall upon the taste. 

Fortune favored Dupré with a more even disposition than his companion Rue 

seau. He got along with the world better, was more successful financially, and shad — 

less bitterness in his life. He outlived all the early tempests that gathered shore the 

‘ heads of the band, and saw the ideas they had struggled for at last acknowledged. — 

His quiet bearing under success was as admirable as his fortitude under early failure. — 

He was not easily turned aside or beaten down or over-exalted. The belief of his youth — 

he carried with him into old age, firmly convinced that some day it would triumph, a 

It has triumphed, and Dupré with Rousseau has been justified. 


a 


CHARLES EMILE JACQUE 
1813-1894 


| Last survivor of the Barbizon-Fontainebleau painters, Jaque 
. reached a full meed of dignity and wealth. The varied experiences 
=| of his early life, joined to a well-balanced mind and practical char- 
= acter, had enabled him to escape the early harassments which had 
|= beset his friends. <= 

Born in 1813, he was by turns a soldier and a map engraver, 
later practising engraving upon wood, and etching. In these me-— 
diums his first exhibits were made at the Salon, and they received _ 
awards in 1851, 1861 and 1863. His influence had much to do 
with the revival of interest in the art of etching, and examples of 
his plates are held in high esteem by collectors. Meanwhile, from = 
1845 he had been training himself to paint, although it was not — 
until 1861 that his pictures received official recognition. His sym- — : 
pathies were with rustic life, and particularly with animals. The 
pig attracted him as a subject; he not only painted the barn-door fowls, but bred 
them and wrote a book about them. Yet it is for his representation of sheep that he 
is most highly esteemed. His experience with the burin and needle had made him a 


free and precise draughtsman, while his profound study of animals gave him complete 
mastery over construction and details, as well as the power to represent their charac- 
ter. His fondness for them saves him from any possibility of triviality; he selects 
the essentials and fuses them into a dignified unity. While in the strict sense he is 
not a colorist, he uses color often with impressiveness and always with a fine simplicity 
and breadth. His pictures have much of the poetry which characterized the Bar- 
bizon School and found ready patrons during his life. The sale of his studio col- 
lection after his death produced the noteworthy return of over 600,000 francs. 


JEAN FRANCOIS MILLET 
1814-1875 


While the artistic atmosphere was torn with the cries of parti- 
sans, Millet had ears only for the cry of the soil. The peasant of 
Gruchy is the epic painter of the nineteenth century’s newly dis- 
covered conception of the dignity of work. Nor does he blink 
the inherent curse of it—the sweat and pain of labor; the distortion 
of body and premature age; the strait conditions and unhonored 
death—but out of the completeness with which the life conforms to 
its environments he discovers its dignity. Narrow in his sym- 
pathies, for he ignored the lives of other toilers not connected with 
the soil, his concentration upon the chosen theme is so intense, sin- 
cere and simple that his pictures are akin to the amplitude and 
typical completeness of Greek art and to the stupendous ethical 
significance of Michael Angelo’s. ‘Trivialities are’ disregarded; 
there is scarcely even any detail of secondary importance in his pic- 
tures, everything being so completely merged in the one single motive. And the 
latter is embodied in such terse and vigorous simplicity, with such pregnancy of mean- 
ing and grand, serene harmoniousness, that in his best pictures one feels the truth to 
have been stated once and for all—to be, in its way, a classic. 

Millet was born in 1814, in the village of Gruchy, near Cherbourg, and from 


| the age of fourteen to that of eighteen worked on his father’s land. But he had al- 


ways a taste for drawing, and at last his father consulted a M. Mouchel, in Cher- 
bourg, as to whether he had talent enough to gain his bread by painting. Mouchel’s 
reply was favorable, and he and another painter of Cherbourg, named Langlois, 
commenced to teach the young man, who was now twenty. The studies, however, 
were cut short two months later by the death of Millet’s father, and it was only 
after an interruption of three years that a subsidy from the community of Cherbourg, 
collected by Langlois, and the savings of his family permitted him to start for Paris. 


Herculean in frame, uncouth in manner, l’homme des bois, as his fellow-students called 
him, the young peasant entered the studio of Delaroche. But the pictures of the 
master made no appeal to him, seeming to be “huge vignettes, theatrical effects 
without any real sentiment”; and Delaroche, after having been first of all interested 
in his new pupil, lost patience with him. He left the studio within the year. Then 
followed eleven years of penurious living and misplaced effort. He tried to paint 
in the style of Boucher and Fragonard, which drew from Diaz the criticism: “Your — 
women bathing come from the cowhouse.” He turned out copies at twenty francs, —_ 
and portraits at five, and painted signs for taverns and booths. He had married and, = 
his wife dying after three years, remarried. Then, in 1848, he exhibited “The Win- 
nower,” a characteristically peasant picture. It sold for five hundred francs. | a ae | 
This was the turning-point of Millet’s career. His friend Jacque proposed that  — 
they should migrate to Barbizon. With their wives and five children they reached _ 
Ganne’s Inn, just as the dinner hour had assembled twenty persons at the table— 
artists with their families. Diaz did the honors, and invited them to smoke the pipe 7 
of peace which hung above the door in readiness for newcomers. As usual, a jury 
was appointed, to judge from the ascending rings of smoke whether the new painters — 
were to be reckoned among the Classicists or Colorists. Jacque was declared to be a 
Colorist. Difference of opinion being held concerning Millet, he exclaimed: “Eh bien, 
si vous étes embarrassés, placez-moi dans la mienne.” “It is a good retort,” cried 
Diaz. The fellow looks powerful enough to found a school that will bury us all.” 


Millet was thirty-five when he settled in Barbizon and picked up again the broken 
thread of his youth, resuming once more his contact with the soil and with the 
laborers in the fields. Henceforth he gave himself up unreservedly to painting what 
he knew, regardless of criticism or contempt. At first he boarded with a peasant, and 
lived with his family in a tiny room where wheat was stored. Later he rented a little 
house at a hundred and sixty francs a year. In winter he sat in a work-room without 
a fire, in thick straw shoes, and with an old horse-cloth about his shoulders. Under 
such conditions was “The Sower” painted. Meanwhile he was often in dire straits. 
Rousseau and Diaz helped him with small sums. “I have received the hundred 
francs,” he writes to Sensier, “and they came just at the right time; neither my wife _ 
nor I had tasted food for four and twenty hours. It is a blessing that the little ones, 
at. any rate, have not been in want.” It was only from the middle of the fifties that 
he began to sell at the rate of from two hundred and fifty to three hundred francs a 
picture. Even in 1859 his “Death and the Woodcutter” was rejected at the Salon. 
Rousseau was the first to offer him a large sum, buying his “Woodcutter” for four 
thousand francs, under the pretense that an American was the purchaser. Dupré 
helped him to dispose of “The Gleaners” for two thousand francs. At length, in 
1863, he was commissioned to paint four decorative panels of the “Seasons” for the : 
dining room of the architect Feydau. They are his weakest work, but established his 
reputation. He was able to buy a little house in Barbizon, and thenceforth had no 
financial cares. At the Exposition of 1867 he received the Grand Prix, and in the 
Salon of 1869 was a member of the Hanging Committee. He lived to see his “Woman 
with the Lamp,” for which he had received a hundred and fifty francs, sold for thirty- 


| 
; 
| 
a 


eight thousand five hundred at Richards’ sale. ‘Allons, ils commencent & comprendre 
que c’est de la peinture sérieuse.” 

He went about Barbizon like a peasant, in an old red cloak, wooden shoes and a 
weather-beaten straw hat. Rising at sunrise, he wandered over the fields and through 
the farmhouses, intimate with all the people and interested in their daily doings. His 
study was an incessant exercise of the faculty of observation, to see and to retain the 
essential, the great lines in nature and the human body. This marvellous quality is 
particularly apparent in his drawings, etchings, pastels and lithographs. They are 
not merely studies, but pictures in themselves. He divests his figures of all that is 
merely accidental, and in his simplification reaches by the smallest possible means the 
fullest expression of the salient truth; and the decisive lines which characterize a 
movement are so rhythmic and harmonious that he attains to much altitude of style. 

Even as a child he had received a good education from an uncle who was an 
ecclesiastic, and had learned enough Latin to read the Georgics of Virgil in the orig- 
inal text. He knew them almost by heart, and cited them continually in his letters. 
Shakespeare filled him with admiration, and Theocritus and Burns were his favorite 
poets. He was a-constant reader, and more cultivated than most painters; a philo- 
sopher and a scholar. 

In January, 1875, he was stricken with fever, and died at the age of sixty. His 
grave is near Rousseau’s at Chailly, and the sculptor Chapu has wrought their two 
heads side by side in bronze on the stone at Barbizon. 


ADOLF SCHREYER 
1828-1899 


There is no suggestion of the German in the art of Schreyer, 
yet it was in that most German of cities, Frankfort-on-Main, that 
he was born in 1828. ‘Théophile Gautier, who was a particularly 
strong admirer, once defined him as ‘fa Teutonic accident.” He 
travelled much, and painted as he went. In 1855, when his friend, 
Prince Taxis, went into the Crimea, he accompanied the prince’s 
regiment, and at this period he began producing those battle scenes 
which gave him his first fame. Wanderings in Algiers and along 
the North African coasts into Asia Minor resulted in those pictures 
of Arab life which are so popular, while visits to the estates of his 
family and his friends in Wallachia provided him with another of 
his familiar classes of subjects. Until 1870 Schreyer was a resi- 
dent of Paris, but since that time he divided his life between that 
city and his estate at Kromberg, near Frankfort, where he lived sur- 
rounded by his horses and hounds, practising his art with an energy that advancing 
years was unable to impair. He was invested with the Order of Leopold in 1860, 


received the appointment of court painter to the Duke of Mecklenburg in 1862, is a 
member of the academies of Antwerp and Rotterdam, and received first medals at all 
the important European expositions between 1863 and 1876. He died 1899. 


CONSTANT TROYON 
1810-1865 
Constant Troyon was born at Sévres in 1810. His father was 


place, and under his instruction the son began his artistic career as 
a decorator of chinaware. By a happy coincidence for him, two 
unknown young men, named Narcisse Diaz and Jules Dupré were 
also employed at Sévres in the same kind of work. Later on all 
three formed the acquaintance of Théodore Rousseau, and a bond 
of personal friendship and artistic sympathy was established be- 
tween them which was terminated only by death. 

Unlike the early Dutch and Flemish painters, these young men 
belonged to no prosperous guild, with its wholesome traditions and 
famous masters to aid them, nor did they obtain much of permanent 
value from the schools of their day. But, what was far better, 
they became in a large and vital sense their own instructors, they 
pursued their own career with nature for their guide; and when they died, they left 
behind them few heirs of royal blood to question the sovereignty of their fame. 

To most of us at the present day Troyon is chiefly known as a great animal 
painter, especially of cattle and sheep. But it must not be forgotten that long be- 
fore he began to paint animals he had won distinction as a landscape painter. His 
career in this field of art was marked by success almost from the start. His first 
picture was exhibited at the Salon in 1832, when he was twenty-two years of age; 
three years later he received his first honor—a Medal of the Third Class; in 1839 
the Museum of Amiens purchased his Salon picture; in 1840 he obtained a Medal of 
the Second Class; in 1846 a Medal of the First Class, besides having a picture bought 
for the Museum at Lille; finally, in 1849, he received his greatest public preferment 
—the cross of the Legion of Honor. All these honors, be it remembered, were awarded 
him before he had publicly exhibited an important picture of animal life, and were be- 
stowed upon him for his excellence as a landscape painter alone. ; 

The year 1848 was the turning point in Troyon’s career, for in that year he 
visited Holland, and it is said found there his true field of painting. It certainly was 
not Paul Potter’s “Young Bull” which determined him to become an animal painter, 
for he was not much impressed with that over-estimated picture; on the contrary, 
with his originality and temperament, he was far more likely to have been convinced 


connected with the Government manufactory of porcelain at that 


ae ee ee 


by the sight of the large, fine cattle feeding in herds or lying in groups upon the low, 
outstretched Holland meadows, their massive forms outlined against the grey northern 
sky. He had not been without personal solicitation to combine landscape and ani- 
mal painting. Indeed, long before this Holland visit, his old friend, M. Louis Robert, 
an old employé of the manufactory at Sévres, had urged him to introduce animals into 
his pictures. So also another friend, M. Ad. Charropin, had given him, time and 
again, the same advice. Writing on this subject to M. Ph. Burty, the former says: 
“Year after year I went with Troyon to Barbizon, . . . On rainy days, when we 
were unable to sketch in the forest, we visited the farms, where the watchers of cattle 
and the tenders of geese posed as our models; more often still to the stables, where we 
painted the animals. Here Troyon executed the most charming things in the world, 
and from 1846 to 1848 I constantly implored him to introduce them into his land- 
scapes.” 

Troyon’s exhibit in the Salon of 1849 did not disclose any important animal paint- 
ing, as might have been expected upon his return from Holland, but it did contain 
a landscape which clearly revealed the influence of the great Rembrandt in the 


magical rendering of light and shade. It was the famous “Windmill,” of which 


Théophile Gautier wrote: 

“Tt is the early morning. The sun struggles dimly amid the enveloping mist; 
the wind rises; then the huge old frame, with worm-eaten planks, begins to creak with 
regular throbs, like the beatings of the heart, as the great membranous wings stretch 
themselves in silhouette against the pale splendor of the dawn.” It was this picture 
which marked the culmination of his success thus far in landscape art, and made 
Troyon Chevalier of the Legion of Honor. 

If Troyon cared for academic rewards, he certainly had received his full share. 
As we have seen, in the short space of seventeen years he had won every medal of the 
Salon save one, and to these distinctions had been added, as we have also seen, the Cross 
of the Legion of Honor; and yet, notwithstanding all this, and although he was forty 
years old, he had not publicly begun his real career. When in fact he entered upon 
it, splendidly equipped as he was, there unfortunately remained to him before his 
death the too brief space of only fifteen years in which to create the manifold wonders 
of his brush—only fifteen years in which to live a new life in art and establish his true 
place among the master painters of the world. 

With what increased delight, therefore, he must have painted when he felt that 
he had found his true vocation, and realized that he was about to reach a greater 


~ success than he had heretofore attained! To secure absolute mastery of his subject, 


he spent no less than eight consecutive summers at the country place of a friend, mak- 
ing beautiful studies of running dogs, which he subsequently employed in his picture, 
“The Return from the Chase.” In like manner he made superb studies of sheep and 
cattle. A friend of his relates how Troyon, after his return in 1855 from a sketching 
tour in Touraine, showed him what seemed an almost endless collection of great, 
splendid studies of cattle, most of which were, indeed, finished pictures; and when he 
expressed astonishment at their number and beauty Troyon quietly remarked: “I have 
made as many as eighteen in a month.” 


Troyon excelled in painting a variety of animals, as dogs, sheep, and even barn- 
yard fowls, but he excelled most as a painter of cattle. Nor was it merely their out- 
ward forms that he portrayed. He had a realizing sense of their character, their 
habits, their life, as the willing servants of man. To us, those heavy-yoked oxen, with 
bent necks and measured tread, dragging the plough along the furrows, are living, 
breathing creatures; and those great awkward cows lazily resting their heavy bodies 
on the ground, and contentedly chewing their cud, are absolutely so alive that an expert 
could tell at a glance how much they weigh; and the spectator almost fears that a near 
approach may bring them slowly to their feet, and that they may walk out of the 
canvas. In a word, “his cattle have the heavy step, the philosophical indolence, the 
calm resignation, the vagueness of look, which are the characteristics of their race.” 

In these last and best years of his life Troyon never neglected his landscapes, 
even when the dominant motive of his picture was some expression or movement of 
animal life. He saw his landscape and his cattle as a pictorial whole, just as we our- 
selves behold them in nature, and the prominence that he gave to either depended upon 
his personal point of view. The result was that his success was immediate and com- 
plete, and his pictures made a delightful impression on every observer, whether artist, 
connoisseur or child. 


‘y No. 1 


7 a 
JEAN BAPTISTE CAMILLE COROT 
f L 


Wy \x° 4! 1796—1875 
: 3 
WO 


PAYSANNE GARDANT SA VACHE EN LISIERE DE BOIS 
Height, 18% inches, nidth, 13% inches 


A PEASANT girl stands on the left bank of a pool watching her cow. . The 
latter, directing its white face toward her, is cooling itself in the water in a 
patch of blue reflection, the rest of the pool’s surface being dyed with the 
tints of the sylvan background. Sloping up from the right this forms a 
cone-shaped mass of ashy green leafage, cut by the bare angular limbs of 
three saplings. Half-way up it is pierced by an opening, through which 
is visible the blue of the sky that changes to white above the tree-tops. On 
the right, however, the upper sky is of the hue of a sparrow’s egg. Lower 
down the blue becomes suffused with grey and still lower passes into greyish 
cream. ‘The girl’s figure, as she holds a basket on her left arm and a stick 
in the other hand, is seen nearly in profile. She is dressed in a short golden 
brown skirt, partly covered by a blue apron, a black bodice that shows the 
white sleeves of her chemise and a rosy crimson cap. But the colors are 
suggested rather than defined, delicately impressionistic like the treatment 
of the landscape. ( A 


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Signed on the lower right, ‘‘ Corot.” VW\A : wo : 


Collection Lz Comre ArmanpD Doria, Paris, 1876. 


IA 0G 
Collection Euckne Lecompre, Paris, 1903. Catalogue No. 37. Under the title ‘“La Vachtre.”’ Fe. F00. 


Collection ARNoLD & Tripp, Paris. 


Described in ““L’CEuvre de Corot,”? by ALFRED Rosaut and Mornau-Nkzaton. No. 1924. 
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No. 2 


J Beat BAPTISTE CAMILLE COROT 


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+ iln Se 1796—1875 ee 


ENVIRONS DE SEVRES 
Height, 13 inches; length, 18% inches 


On a path which occupies the left of the foreground a man and woman 
stand in conversation. His figure presents the back of a slate-colored over- 
coat, while she is dressed in a gown of paler slate with black sleeves showing 
below a crimson tippet, her head bound with an orange kerchief. Beside 
them the scene is enclosed by a slope of leafage, dull olive-green enlivened 
with accents of grey and occasionally yellow. Inthe distance beyond the figures 
the green of the meadowland shows milky in the light, extending back toa 
clump of trees. These form a greenish yellow silhouette, touched at one 
spot with brown, against the creamy whiteness of the open sky. The latter, 
however, above the horizon, where villas nestle at the foot of a hill that 
ascends gently to the right, is suffused with lavender and streaked with a 
paler layer of the same hue. Above this the sky mounts through cream and 
whitish blue to deeper blue, where hover balloons of warmly illumined 
clouds. They are mostly on the right, overhanging a grove of young 
oaks that fill this side of the picture. Their silvery trunks support a 
volume of soft ashy green foliage, in the shadow of which a red cow 
stands motionless. 


Signed at the lower right, “Coror.”’ 

Purchased direct from Corot by M. Bascue. 

Exposition Duranv-Rvuet, Paris, 1878. No. 116. 

Collection M. Bascie, Paris, 1883. Catalogue No. 20. 4 ~ | So && 


Described in ‘‘L’Giuvre de Corot,’’ by Atrrep Ropaut and Moreau-Netaton. No, 1544. 


a 
LISIERE BOISEE DUN ETANG — a 
Height, 16 inches; width, 1234 inches 


project. The bank in the foreground, sloping beck diagonally from t = 
is fledged with grass and water-plants —— with lavender 


where it is sheltered by the curve of the opposite bank, is a bro se 
green, flecked with white and pale blue. It is reflected from a n 
verdure that is cleft by the white, black-barred stem of a graceful birch. 
the left of this two small trees unite their foliage in a bunch of I cht es, 
softly blurred against a screen of foliage, embroidered with a diaper o 
grey and green. Beyond the point thus occupied the bank recedes it 
cove that is bounded by another spur of land, lavender in color, on =o S 
‘appears a white tower with a red conical roof. Behind 2 the sks 
grey-blue, while above the distant horizon on the left its hue is milky, stirred _ 
faintly with rose. In the mid-sky float downy clusters of grey cloud, w 
tops are Hinge with Ievender ey’ the Het of Ses aa 
atmosphere. To all these tones the surface of the water tenderly res 


Signed af the lomer right, * “Conor.” 
CollecRton Bessonnzar, Angers, 1903. 
Described in “L*Euere de Corsi,” by Auraxp Roaacr and Mogzac-Nezaros. Ne. 1382. 


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No. 4 


JEAN BAPTISTE CAMILLE COROT 
ar ‘| 4 1796—1875 
gr 
ARLEUX-PALLUEL—LE VIEUX PONT DE BRIQUES 


Height, 20 inches; length, 35% inches 


TuE bridge with its three arches crosses the middle distance. It is of 
stone with red brick-work inserted over the two left arches. Here above the 
parapet shows the blue back of a woman ina white cap, a clear bright 
accent against the masses of foliage, deep green relieved with grey and buff, 
in the rear of the bridge. To the right of this clump of trees a sand-dune 
dips and rises, sprinkled with scrub, while on the left the bridge leads to a 
bright green knoll surmounted by cottages. Above the latter, springing 
from the lower level of the foreground, a single tree spreads its delicate 
boughs. ‘The sky is a grey atmospheric blue, ruffled with downy cloudlets 
of milky white. At the foot of the tree in the long grass sits a woman 
wearing a lavender waist and white cap, while nearer to the front stands a 
brown and tan dog. On the right of the foreground the scene is further 


enlivened by a group of figures. ‘Two women are in conversation, while a 


child carrying a baby stands between them. Another woman in a blue 
waist and bright yellow cap kneels as if picking flowers, and a man, wear- 
ing a crimson cap, is chopping the boughs off a ‘‘ stick ’’ of timber. 


Signed on the lower left, ‘“ Corot.” 

Coliection Oscar Simon, Dinard, 1894. 

Coliection Van Exean, and exhibited in the Museum of Amsterdam, 1895-1907. 
tet ili ~ fn j 

Purchased from Arnotp & Tripp, Paris. *] 6&{ (x 


Described in *‘L’Guvre de Corot,’’ by Atrrep Rosaut and Moreau-Nkaton. No. 2025. 


[252% Salm (SCR. . Raplt a NS te Pn frrere, (Poca) | 


ie. ie on , ee Ty .Y 


JEAN BAPTISTE CAMILLE ¢ cor Tie " 


1796—1 875 


LAKE NEMI , “i an 
Height, 21%4 inches; length, 31% inches 


On the bank in the foreground a girl sits, with her staff across her lap, Be 
watching her cows that are standing in the water some distance back on 
the right. The artist has given to the figure of this cowherd, as she leans" 
her weight on one arm, the hand planted on the grass, and gazes over the | ss 
water, the suggestion of a classic pose and dreamy feeling that seems atune __ 
with the mingling of naturalism and classic serenity in the composition and 
sentiment of the landscape. Over the water, cooled by the greenish | grey oe 
reflections of the surrounding vegetation, the light floats softly toward the | i ‘ey 
girl from the central distance. Here a low hill forms a lavender silhouette . 
against the rosy suffusion of the lower sky. The latter, as it mounts, pales | pou 
to a warm ivory and thence to ivory touched with blue, passing up into ane A 
faint dove-grey, barred with dipping strata of feathery tufts of white. Its : . 
tremulous expanse is bounded on the right and left by the wooded hills of By Rit 
the middle distance that form a V with the horizon, where a pile of build- = 
ings nestles at the foot of the left slope. The color of thesehillsisagreenish _—_ 
grey. Pricked out in front of the one on the left is the dainty yellow, green : 
and brown leafage of a tree with a twisted interlace of boughs, while on the ; ee 
right of the water rises a white birch trunk with a few tiny limbs frilled — 
with leaves. The cows beyond show spots of dull red and black, while the 
girl’s figure, in a yellowish drab skirt with a touch of blue on one sleeve 
and a golden white kerchief, makes a piquant note in the foreground. 


Signed at the lower left, ‘‘ Conor.” it fy lo'| Ib 


Collection Livrqur, Paris, 1907. 


Described in “*L’ Euvre de Corot,’’ by Atrrep Ropaut and Morgavu-NeEtaton. No. 1638. Under 
title of “Solitude.” 


Collection Boussop, VALADoN & Co., Paris. 


Ke. Somp, Tell oF. 14. Wr (raft hada. de Caster. 
2% othns G oane peice 


No. 6 


4 \K 1817—1878 


THE POND 


Height, 1114 inches; length, 19% inches 


THE artist has here expressed the sentiment of early Spring, when the vir 
ginal hues of nature have been refreshed by a recent shower. A_ pool 
occupies the left of the foreground, reflecting on its placid surface the pale 
grey light, mottled with the soft greens of the opposite bank and the faint 
blue and grey and rose of the sky. ‘Three ducks are swimming near the 
front where the nearer bank curves from the left to a little promontory on 
the right. Its edge is fringed with reeds, and its mossy green grass is 
shadowed by a clump of young oaks, clothed with deep olive foliage. Be- 
tween the trunks appears a level of meadow, receding to a low range of 
wooded hills that extend a bar of greyish blue and green across the middle 
distance. On the left the hillside descends in a slope of yellowish green 
grass, interrupted by an interval of sandy bank. Below the hill is an irreg- 
ular line of bright greenish yellow poplars, and from these the meadow 
spreads in tones of amber-green to the margin of the water. Thesky toward 
the left is dappled with grey-white clouds, but in the centre shows the 
underlying blue streaked with creamy veins, and on the right presents a 
curdled mass of cream delicately suffused with vaporous rose and lavender. 


Signed at the lower left, ** Dausiany, 1868.” 

Collection JourpierR, Paris, 1881. 

Collection Exiz Lion Paris, 1907. F (7.110 

Collection Boussop, VaLapon & Co., Paris. ofa h .g«x~ 


MK. NY of. 


Seat ees 4S camara 
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C.F. DAUBIGNY 


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No. 7 
AD CHARLES FRANCOIS DAUBIGNY 
‘\ ; 1817—1878 


i THE RIVER MARNE 
Wr 


Height, 13% inches; length, 25% inches 


OnE is looking over the river which crosses the foreground and disappears 
on the right round an angle of the opposite bank. This juts out into the 
water in a spit of meadow that slopes gradually back to a knoll on the left. 

Here is a clump of trees whose rich olive-green shows behind the pale green 

mass of a single tree. Sheltering the clump are six tall white-stemmed 

poplars that rear their plume-shaped tops high into the sky. A little to their 
right, almost in the centre of the composition, a single tree stands sentinel. 

It is a poplar whose straight trunk, fledged with tufts of leafage, branches 

out toward the top with two arms like a Y, supporting a pompon of foliage. 

The bank, covered with coarse tussets of yellowish green and pale brown 

grass, descends to the reedy edge of the river, where two boys are reclining 

beside a man in a black coat, who sits fishing. Farther along the bank to the 
right another figure in a rose-colored cap is stooping among the reeds, while 

higher up, on the slope, a woman in black and dull grey is walking toward 
the trees. The reflection of the latter stains the river on the left a deep olive, 

which is flecked with grey and amber, while in the centre the water gives 

back the grey of the sky dappled with faint rose and cream. Over on the 

right the surface is dyed with the reflection of the bank that bounds the 

farthest view of the water. Here is thesandy edge of the towpath, fringed with 

a row of limes, behind which the ground mounts toa hill. A still more distant 

hill forms the horizon, over which mounts a spacious sky of delicate grey-blue, 

faintly streaked with mottled layers of pale lavender and rose and cream. 


Signed at the lower left, ‘‘ Dausieny, 1863.” 
Collection James H. Stressins, New York, 1889. Catalogue No. 62. fs Ake. 
Collection Cot. C. M. McGues. 


C. F. DAUBIGNY 


¥ 


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No. 8 


CHARLES FRANCOIS DAUBIGNY 


+ 1817—1878 


LA SAULAIE 


Height, 1434 inches; length, 26% inches 


THE scene is translated into a delicate tonality of grey and brown, the grey 
tenderly suffused with rose, the brown with faint mellow green. Across the 
water on the left a woman stands watching two dull red cows that have 
stepped into the water and are drinking. Her black skirt makes a strong 
note against the grass, while the cool light strikes clearly on her white waist. 
Some little way back of her two tall slender poplars rise out of a mass of 
foliage, pale grey and dusky grey, relieved with a little olive and brown. To 
the right of this stands a single poplar, whence across the picture extends 
the farthest bank. It is edged with a line of willows that parts in the centre 
and shows a glimpse of faint lavender hills. Above them is a far-reaching 
sky of grey creamy vapor, faintly tinged with rose, in which float lazy wisps 
of rosy lavender and soft creamy clouds. Five birds are flying in the air and 
as many ducks appear in the front of the water. The latter gives back the 
tender hues of the sky, stirred with the darker tones reflected from the vege- 
tation. On the right of the water, where the reflections are dark olive, flecked 
with yellow, a punt is moored beside the bank. Here rises a clump of bushy 
willows, three of their stems showing white against the fluffy masses of olive- 
green and amber foliage. In front stands a slim birch with a sprinkle of 
yellow leafage. On the right of it a vista of mossy grass, barred with deep 
green shadows, extends back to where three willow trunks reflect the light. 


Signed at the lower right, ““ Dausiany, 1863.” 
Collection M. Roprerer, Paris, 1891. Catalogue No. 8. AM o 0° & An CP ~ 
Collection ALEXANDER YounGc, London, England, 1906. | heap > 
HER €8 S.0 AUnrhF. Tro, eft 9, [\—so.% \ 
Collection Tuomas AGNEw & Sons, London, England, K my | 
tn €&S / 
Illustrated in the International Studio, December, 1906. * - 


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A. G. DECAMPS 
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No. 9 


Bi GABRIEL DECAMPS 


1803—1860 


Vl 4 


“LE FRONDEUR 
Height, 2534 inches; length, 32 inches 


In the foreground, to the left centre, lies a section of the fluted shaft of a 
column. It has fallen from the high pedestal, which is still surmounted by 
a fragment of the shaft upon the plinth. Near the pedestal, lurking behind 
a slab of stone fringed.with a vine, stands a brown-skinned youth. He wears 
a sleeveless jacket of old rose color, his feet and legs being swathed in white 
wrappages. <A brown leather bag is slung at his back. Stooping, he peers 
forward, with arms pressed to his body, as he holds his sling, intently watch- 
ing a white-throated eagle which is perched at the top of a ruin a little way 
back on the right. The bird is seen against a pale blue sky, where amid 
grey vapor floats one warmly lighted creamy cloud. Meanwhile on the left 
of the foreground, ensconced among the vines and bushes, crouches a woman 
beside the standing figure of a child in a pale blue robe. The woman’s figure 
is clad in a white tunic and her dark hair is partly concealed by a red veil. 
Amid the bushes above her appear the heads of two goats. A golden tone 
pervades the picture, giving lustre to its rich tonality. 


Signed on the plinth, “‘ Decamps.”’ 
Collection Van Praet, Brussels. 


Collection SecreTan, Paris, 1889. Catalogue No. 12. g 2. eo fa ‘ 


Collection F. L. Ames, Boston. aes 
Collection Boussop, VaLapon & Co., Paris. A ¢ ? l 4 > 
nd . }| ’ L pr 1 


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No. 10 


NARCISSE VIRGILE DIAZ DE LA PENA 


\\ "a> \R Sts: 
\. \ S V , 1807—1876 
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Height, 9% inches ; length, 1234 inches 


Tuis scene of idyllic beauty represents a sylvan pool. It appears to be on 
the edge of the forest, for the back opens to a vista of soft green meadows, 
with the distant view of a chateau in a walled enclosure, its tower rising 
against the blue of a gently curving hill. Over this horizon floats a large 
cloud glistening creamy white. The foreground is framed with trees, on 
the left being two firs, whose frond-like foliage mounts high up into the sky, 
while a slender tree with pale golden leafage bends over the water. On the 
opposite side the forest thickens with a wealth of green underbrush and a huge 
grey boulder. Near it spires up a larch, its white stem cuttingthemassy amber- 
green, pale yellow and grey foliage of a beech that spreads its cool shade over 
the right bank of the pool. Here a girl nude to the waist, from which depends 
a drapery of peacock-blue, stands beside the grey trunk, lifting up her arms ~ 
as she toys with a branch. On the edge of the water sits another girl with 
a white and blue garment across her knees. In front of her a third, as she 
stands in the water, lifts up a white drapery and discloses her nude form. 
The group is completed by another girl, who reclines luxuriously upon the 
bank with a fabric of old rose wrapped below her waist. The water reflects 
the colors of the figures and their draperies and the hues of the foliage, a 


fantasy of delicate tints dappling the grey reflection of the sky. 


Signed at the lower left, ““ N. Diaz.” La Af a ¢ Ao | 
. ( S 4a 


Collection M. Bertranp, Paris. lv } 


J i 
Collection Boussop, VaLaApon & Co., Paris. ne 


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No. 11 


NARCISSE VIRGILE DIAZ DE LA PENA 


1807—1876 


yi 


THE GLADE IN THE WOODS 


Height, 18 inches ; length, 26 inches 


THE foreground, like some of our Westchester pastures, is strewn with grey 
boulders that crop out suddenly from the sparse yellow-green grass. In the 
centre is a bare spot of whitish sand, near which appears a woman dressed 
in a pale blue apron, white waist and cap of pink rose. She carries a faggot 
under her arm and is approaching another woman who kneels on the right 
beside a heap of sticks. She wears a greenish blue apron over a brown dress, 
while a scarlet tippet and white cap add touches of brilliance to her figure. A 
little way behind her a young oak, with yellowish green foliage, leans toward 
the centre. As a pendant to it on the right stands a tree with straggling 
branches, possibly a wild apple, and farther back in the centre is the grey 
stem of an oak tipped with a blur of green foliage and some splintered limbs. 
The picture is closed in with a hedge that shows against the purple woods on 
the horizon. The lower sky is a creamy white passing into a pale blue, 
silted over with grey vapor. Higher up the blue grows in intensity, until 
it shows a slit of deep tone underneath a curtain of slaty clouds that tell of 


wind and storm. 


Signed at the lower right, ““ N. Diaz, ’66.”’ 
Collection M. Drtonpret, Paris. 
Collection M. Knorpier & Co., New York. 
MK. NLC)? AX-S%K- 
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No. 12 


NARCISSE VIRGILE DIAZ DE LA PENA 


1807—1876 


THE SULTANS DAUGHTER 
Height, 24 inches; length, 29% inches 


A Group of Oriental figures is disposed across the foreground in attendance 
upon the princess who occupies the centre. Her head-dress is of turquoise- 
blue, embellished with a tiara of jewels and a plume of soft white feathers. 
Of a similar blue is her bodice, relieved, however, by a front panel of delicate 
rose. The whole is encrusted with jewels, as also is her blue girdle-sash 
fastened in a knot and hanging over a white skirt that floats away from the 
figure in soft wavy folds. It reaches to a little below the knee, revealing 
tight trousers of rose silk, embroidered with gold, and blue slippers. She 
wears jeweled earrings and bracelets. Her train of deep blue velvet is sup- 
ported by a dark-haired child dressed in a rose-colored robe and a cap of the 
same hue decorated with jewels. The princess’ lap dog is held in the arms 
of another child dressed in a white turban and a robe of pale crocus-yellow, 
opening over a white tunic, below which appear crimson, gold-embroidered 
trousers. Above the princess’ head is a fan of white ostrich feathers, held by a 


dark-skinned attendant, who is dressed in a rose turban and a tunic of greenish 
yellow, scintillating with light. Behind him stands another male attendant, 


clad in crimson, who carries a circular fan, decorated in rose and gold. In 
the foreground on the right a dark-skinned girl, wearing a rosy golden gown, 
is kneeling in obeisance. Behind this group of brilliant figures appear on 
the left a banana tree with rich olive-green and brown leaves and on the 
right two grey columns of a pergola, surmounted with a bushy vine. Be- 
tween these side masses rise in the distance the facade and pointed dome 
of a palace, glistening creamy white against the lapis lazuli of the sky. 


Signed at the lower left, “‘ N. Diaz, ’64.”° 

Collection Watu-Brown, New York, 1888. W*260. 2725- 
Collection W. K. Brxpy, St. Louis. ‘ 

Collection M. Knozpier & Co., New York. (1 SGS8, (SKKA 


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No. 13 


hoe JULES DUPRE 


1812—1889 


VACHES SE DESALTERANT DANS UNE MARE 
Height, 7 inches; length, 934 inches 


Four brown and white cows are grouped in the water, the back of one of 
them sharply reflecting the cold light of a sky piled with balloon-like clouds. 
The white of these gleams on the surface of the pool, barred vertically by the 
brown reflections of the animals’ hides. On the right the water is blurred 
with the olive-greens caught from a clump of oaks, slashed with the white of 
two glistening trunks and stained with the red of a woman’s skirt. She is 
sitting on the bank, where her skirt and a black waist and white cap form a 
strong contrast to the surrounding greens. The mass of oaks behind her is 
relieved by a patch of reddish brown foliage. As a pendant to this clump, 
on the left, is a willow tree silhouetted against the massy green of an oak. 
The meadowland, stretching back from the pool, its green crossed in the 
middle distance by a streak of pallid yellow, terminates in woods that are 
veiled in a lavender mist. The cloud-forms, dove-grey on the under side, 
shine with warm white on their rounded crests, while the sky above them is 
penetrated with rosy grey-blue vapor. 


Signed at the lower left, *‘ Jutzs Dupri.” 

Collection Aucustr Rovssrau, Paris, 1900. Catalogue No. 27. t q . Soo ~ re . 
Collection ReittincEer, Paris, 1907. yi; - te 

Collection Boussop, VaLapon & Co., Paris. R ‘ C : es \ . A 4 


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No. 14 


Bee ee JULES DUPRE 


| 1812—1889 


LE VIEUX CHENE 
Height, 17 inches; length, 2034 inches 


THE scene is brisk with the cool light and moist air of a stormy day in early 
Autumn. The upper sky is filled with the turbulent fluster of grey and white 
clouds, parted in the centre by a wedge of pale blue. Lower down billowy 
masses of dark grey stretch across the horizon, rolling above strata of grey 
and white vapor. Against the latter the distant level hills show blackish 
purple. The meadowland in the middle distance gleams a pallid yellow, — 
and the nearer grass is a dark olive-green, terminating in a bank of reeds and 
rushes, which fringes the water that occupies the foreground. It seems to 
be an angle of a river, and the dark of its surface is shattered by a reflection 
of the sky’s white and grey, the light shining sharply white on the back of 
one of five cows which are standing in the water near the right bank. 
Here a punt has been drawn up on to the bank, and a man in a white shirt, 
which also catches a clear spot of light, is stooping to moor it. The bank 
on this side rises to a slight eminence, on the top of which is a one-story 
cottage, its white plastered walls interrupted by a door and two windows. 
It has a heavy thatch of olive-green, out of which rises a single chimney. 
To the left of this cottage stands a scraggy, time-worn oak, which has given 
the name to the picture. 


Signed at the lower left, “* Jurms Dupr¥.”? . 


Collection M. Brrr, Paris, 1902. 


Collection KaurmMann, London, 1907. \d \ | 
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Collection Boussop, VaLapon & Co., Paris. 


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No. 15 


JULES DUPRE 


1812—1889 


SILVERY MOONLIGHT ;. ye 


pm 


Height, 2534 inches ; nidth, 20 inches 


BENEATH a luminous moonlit sky the village corner with church and cottages 
drowses in warm shadow, the roadway being cut conspicuously by two shafts 
of artificial light. One of these streams from the doorway of a cottage that 
stands back of a red-tiled barn on the right of the scene. Behind the cottage, 
separating it from a taller one, spring two oaks, whose stems are tufted con- 
tinuously with branches of deep olive-brown foliage, One of the trees leans 
over the roadway, so that the gabled end of the church and its turret and 
spire are seen beneath it. From the space in front of the church another bar 
of rosy, creamy light pours across the road. It is interrupted by the figure 
of a woman in a red skirt, black waist and white cap, who is walking toward 
the church. The scene on the left is closed in by the white end-wall and 
heavy thatch of a cottage, while the distance terminates in a grove of trees, 
glimmering pale yellow-green in the moonlight. The sky is tremulous with 
luminosity, a sea of blue stirred with white, on which ranks of creamy waves 
float up and down. Higher up the sea of blue becomes greener, until at the 
zenith it passes into a deeper greyish blue. 


Signed at the lower right, “* J. Dupri.” 


Collection Mapame Humpsrt, Paris. Catalogue No. 33. Under title of “Le Chéne.”’ 4700 fs ; 19 604%. 


Collection Scorr & Fowxies, New York. # [Oco 
MKT set. 


No. 16 


CHARLES EMILE JACQUE 


1813—1894 


MINIATURE LANDSCAPE 


Height, 43 inches ; length, 8% inches 


A SENSE of great spaciousness pervades this little picture. The foreground 
is occupied by a broad extent of rough pasture, pricked toward the left by a 
hollow in which gleams the grey of water. Sheep are scattered over the 
grey-green and brown surface in a variety of characteristic positions, while 
the nucleus of the flock is massed on the right of the middle distance behind 
the shepherd. Leaning on his staff in a blue blouse he stands near a sandy 
path that leads back in a slanting direction to where the meadow is crossed 
by a horizontal boundary. It is studded with four masses of olive-green 
trees, and beyond the central interval haystacks are visible against the faint 
blue of the farthest line of hills. The details of the scene are clearly illumined 
by the cool light of a bluish white sky, fermenting with white and greyish 
vapor, and here and there a touch of warmer cream. 


Signed on the lower right, “‘ Cu. Jacqur.”? 


rer 


No. 17 
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\ ‘gs Aram EMILE JACQUE 
o WS | 1813—1894 


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\NI THE SHEPHERDESS 
Height, 32 inches ; width, 2534 inches 


THE scene is a hill-side pasture, sloping up from the foreground and shel- 
tered by a grove of oaks. ‘The grass in places is sown with stones and 
sprinkled with bushes. Scattered over it is a flock of sheep; conspicuous on 
the right of the foreground being two lambs, one standing and rubbing its 
nose against the body of the other which is lying down. ‘The shepherdess, 
in a brown dress with white sleeves, a pale blue apron and a bluish white 
handkerchief over her head, has laid aside her crook and is sitting with her face 
in her hand. Close beside her is the trunk of an oak, splintered off a few feet 
from the ground. It stands beside a tall oak with silvered bark that rears 
its bare branches against a stretch of dull slaty sky. In the rear of this tree 
is a mass of rich verdure, to the left of which a young oak spreads the pale 
masses of its crisp green leafage athwart a fluster of brightly illumined white 
clouds. Other trees stand back on the left, where the sky is overcast with 
grey. Inthe cool light the various greens take on a depth and richness of hue, 


and the various details are pricked out with vivid distinctness. 
. 
: 66 f , : f “ 
Signed at the lower left, © Cu. Jacqur, 1875.’ : & i. 
Bought from the artist by Gourit & Co., Paris, 1875. ’ 


Collection Boussop, VaLapon & Co., Paris, 1908. 


No. 18 


JEAN FRANCOIS MILLET 


1814—1875 


GOING TO WORK—DAWWN OF DAY 
Height, 2142 inches; nidth, 18 inches 


In the early morning a youth and a young girl are on their way to work. 
They are moving across a stretch of brownish olive-green meadow that passes 
into tones of amber and olive as it slopes up gradually toward the rear. In 
the distance, on the left, appears a level vista, more brightly lighted, where 
in the rising mist are faintly discernible some cows and the figure of a girl 
in a pale rose skirt and white cap. The vista melts into a creamy horizon, 
above which is a sky of delicate grey-blue, skeined with pale amber layers of 
filmy vapor. Contrasted with the etherealization of the sky are the stern 
simplicity of the foreground and the rugged plastic character of the two 


principal figures. The youth walks with a free stride, his muscular legs 


tightly encased in coarse greyish olive trousers, ragged-edged above the bare 
ankles, his feet in wooden sabots, from which some ends of straw protrude. 
He wears a turquoise-blue blouse and carries a fork over his right shoulder, 
while his left hand is thrust into his trouser pocket, and the blade of a spade 
appears from under his left arm. A brown felt hat casts a shadow over his 
ruddy face, so that the light only touches the angle of his left jaw and glints 
on the white collar of his shirt. His face is turned slightly toward the girl’s 


face, whose gaze meets his. It peers out of a shadow that leaves only the — 


nose and left cheek lighted, for she is wearing her basket like a bonnet on 
her head, steadying it by its handle with her right hand. Her ripe young 
body is clad in a tight-fitting olive-drab dress, over which hangs a coarse 
whitish apron. The two faces have a mutual expression of dumb sympathy 
and hesitating tenderness. But the action of the bodies is characterized by 
decision and energy, not less remarkable for naturalness than for the 
classic rhythm of its movement. 


Signed at the lower left, “J. F. Muugr.”’ 


Collection M. Knorpier & Co., New York. 
Collection Joun T. Martin, New York, 1908. S0+0°¢° > 


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No. 19. 
i 
Ve : Ra Lisle iets 
THE WEARY WAYFARERS ae 
(Crayon Drawing) Hf; ; li * 
Height, 14 inches ; length, 19% inches 


Two wayfarers have halted on the road to question a shepherd, who is point- 


ing out the direction of their bourne. Beyond the foreground is suggestion — 


of the long monotony of a level country, interrupted by the indication of a 
village and here and there a tree, but otherwise stretching without variety to 


the distant horizon, The travellers betray the suavity and supple refinement — 


of the city. One has doffed his hat with a sweeping bow, the other, while 


he shades his eyes from the glare of the sun, rests the hand which holds his 


staff upon his hip, a cloak that hangs over his arm completing the grace of 
the gesture. Both, however, wear coarse clothes, one a blue blouse, the other 
a loose jacket unbuttoned, their trousers being rolled up over the ankles and 
their feet shod with sabots. The man in blue carries a bundle slung on a 
stick over his shoulder. To their rather weary attitudes and gestures of 
easy politeness the shepherd’s figure presents a contrast of monumental 
austerity and strength. It is wrapped in along black cloak that, as the man 
stands with his back to us, makes a strong vertical line from the left shoulder, 
continued down the leg, but assumes a fine curve on the right side because 
of the upraised arm. His head, with a felt hat on it, is turned toward the 
strangers, while his right foot rests on the slope of a mound that rises at the 
right of the composition. The severe simplicity of this mass of ground 
assists the statuesque character of the shepherd’s figure and at the same time 
accentuates the long drawn-out effect of the receding landscape. At the 
shepherd’s feet his black dog stands eyeing the strangers; beyond the latter 
the flock is massed and a few sheep appear on the mound against the sky. 


Signed at the loner right, ““ J. F. Muuuer.’’ 


Collection Grorces Petit, Paris. Collection ALEXANDER YounG, London, 1906. ee NX ¥- 


Collection Derorr Bey, Paris. Go| 08 -Collection M. Knorpier & Co., New York, !! y i 


Collection ALEXANDER Rein, Glasgon. Illustrated in the International Studio, November, 1906. 


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\ 7 1828—1899 


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wie al ) No. 20 


THE BURSTING SHELL 
Height, 2514 inches ; length, 4034 inches 


Two Arab horsemen have been checked in mid-gallop by a shell that lies 
smoking on the right of the foreground. One has wheeled his horse round 
so that its white tail and stern, partly covered with a crimson saddle-cloth, 
are full tothe front. The rider’s back is toward us, wrapped in a drab cloak 
that reveals some of the blue and white of the under-garments. He holds a 
rifle and turns his head over his shoulder toward the shell as he gallops off. 
His companion’s horse is swerving to the side, the forefeet off the ground, 
the head high in air. He is a white, dappled with chestnut over the head, 
neck and tail, handsomely accoutred in a saddle-cloth of peacock-blue with 
gold-embroidered border and in blue headgear with a tassel suspended from the 
martingale. The rider is swathed in white, which shows part of a dull crim- 
son jacket, and wears a red fez with black tassel, while across his knees hangs 
a silk drapery of delicate chrome-yellow. He carries a furled flag, whose 
silky folds of apple-green make a vivid spot against the slaty sky, murky 
with smoke and dust. The light strikes conspicuously on this man’s shoulder 
and his horse’s stern. The other horse and rider are in shadow, and ina 
deeper shadow beyond them, on the left, appears a body of Arab cavalry at 
the gallop. In the distance on the right two horsemen are descending 4 
gully, on the opposite side of which rise sandy hillocks. 


Signed on the lower right, “* Ap. Scurnyer, 1870.”’ 


> | 
3.‘ Collection Scorr & Fow.es, New York. 


NRK uses- 


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No. 21 


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LA CHARRETTE DE FOIN 
Height, 3034 inches; length, 44 inches 


TuE lower sky is filled with greyish vapor, which grows whiter toward the 
zenith and shows intervals of blue. There is a stir of breeze, but the light, 
though veiled, is warm and gives a liquid quality to all the hues. In the 
foreground lies a ‘‘ stick ’’ of timber, at the end of which a brown dog and 
a white one stand facing each other. Beyond them a stream of shallow 
water crosses the picture, its surface sprightly with reflected tints. A white 
cart-horse, a blue cloth edged with red on its back and a blue coat hang- 
ing over the flap of the collar, is standing in the water. ‘The waggoner is 


seen behind him dressed in a blue blouse and golden brown breeches. He — 


holds up a stick as he turns the horse with its head down stream, so that the 
two oxen which are yoked behind it may hold the hay-cart back down the 
little slope that leads to the water. One of the oxen is a pale dun, its yoke- 
mate white with a reddish brown head and neck. The two-wheeled cart is 
piled high with hay that glistens in tones of amber-green. Behind the cart 
follows a man in shirt sleeves, with a fork over his shoulder, accompanied by 
a woman in a brownish plum dress, white cap and apron, and a boy who is 
frisking with a dog. Behind this group the meadow recedes to dull purplish 
hills, which, crossing the horizon, approach nearer on the right and become 
greener. The scene is enclosed on the right by the end of a thatched barn, 
its drab walls rising close beside the stream. Near it stand four slender 
trees with delicate leafage that grow out of a mass of deep green shrubbery. 


Signed on the lower left, ‘“C. Troyon.’? 

Collection Prince Worovuzorr, Florence. 

Collection Atexanper Youne, London, 1906. faz. R&R. PA ; 
Collection Scorr & Fow.es, New York. 

Illustrated in the International Studio, November, 1906. 

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